第19章 普绪克 The Psyche (第1/27页)

《普绪克》，1861

the psyche, 1861

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安徒生称这个故事的灵感源于发生在罗马的一件事：在为一位年轻修女挖掘坟墓时，一尊美丽的巴克斯雕像被挖掘出土。

Andersen reported that this story was inspired by an incident that took place in Rome: a beautiful statue of bacchus was unearthed when a grave was being dug for a young nun.

古典古代神话典故与关于罪恶和救赎的圣经故事的融合，也将安徒生的故事与德国浪漫主义者联系起来，特别是 E.t.A. 霍夫曼和约瑟夫?冯?艾兴多夫，他们钟情于意大利，并将其用作他们中篇小说的背景。

the blend of allusions to the myths of classical antiquity and the biblical stories of sin and redemption also connect Andersen’s story to the German Romantics, particularly E.t.A. hoffmann and Josef von Eichendorff, who were enamored of Italy and used it as the setting for their novellas.

成为僧侣的丹麦艺术家阿尔伯特?屈希勒可能是《普绪克》中雕塑家的原型。

Albert Kuchler, a danish artist who became a monk, may have been the model for the sculptor in “the psyche.”

《普绪克》与安徒生的《冰姑娘》同年出版，《冰姑娘》是一个关于来自北欧蛇蝎美人冰冷死亡之吻的恐怖故事。

“the psyche” was published the same year as Andersen’s “the Ice maiden,” a terrifying tale about an icy kiss of death from a Nordic femme fatale.

在斯特拉文斯基为芭蕾舞剧《仙女之吻》（1928 年）对该故事进行的音乐改编中，标题中的仙女是一位将英雄带入艺术世界的缪斯。

In Stravinsky’s musical adaptation of that tale for the ballet Le baiser de la fée (1928), the fairy in the title is a muse who captures the hero for the world of art.

从一开始，安徒生的第一部小说《即兴诗人》就因艺术的本质而困扰，艺术追求神圣但常常沦为恶魔。

From the start, with his first novel the Improvisatore, Andersen was troubled by the nature of art, which aspires to the divine but